大學英語的段落翻譯答案解析

翻譯是一種複雜的語言活動。所謂翻譯,就是將一種語言的思想內容用另一種語言清楚準確地表達出來。 下面是本站小編帶來的大學英語的段落翻譯 ，歡迎閱讀!

大學英語的段落翻譯1

Unit 5

My father died from "the poor man's friend", pneumonia, one hard winter when his lung illnesses had left him low. I doubt he had much lung left at all, after coughing for so many years. He had so little breath that, during his last years, he was always leaning on something. I remembered once, at a family reunion, when my daughter was two, that my father picked her up for a minute -- long enough for me to photograph them -- but the effort was obvious. Near the very end of his life, and largely because he had no more lungs, he quit smoking. He gained a couple of pounds, but by then he was so slim that no one noticed.

肺部的病痛把我父親折磨得虛弱不堪，一個嚴冬，他死於被稱爲‚窮人之友‛ 的疾病──肺炎。他咳嗽了這麼多年，我想他的肺部已沒有什麼完好的地方了。去世前幾年，他的呼吸已經很虛弱了，他總得倚靠着某個東西。我記得有一次全家聚會，當時我女兒才兩歲，他抱了她一會兒，好讓我有時間給他倆拍張照片。但是很明顯，他是費了好大勁兒的。生命行將結束前，他才戒了煙，主要是因爲他的肺功能已極度受損。戒菸後他的體重增加了幾磅，但當時他太瘦了，所以沒人注意到這一點。

Unit 6

For her first twenty-four years, she'd been known as Debbie --a name that didn't suit her good looks and elegant manner. "My name has always made me think I should be a cook," she complained. "I just don't feel like a Debbie."

One day, while filling out an application form for a publishing job, the young woman impulsively substituted her middle name, Lynne, for her first name Debbie. "That was the smartest thing I ever did," she says now. "As soon as I stopped calling myself Debbie, I felt more comfortable with myself ... and other people started to take me more seriously." Two years after her successful job interview, the former waitress is now a successful magazine editor. Friends and associates call her Lynne.

在她人生最初的24年裏，人們一直叫她戴比——一個和她的漂亮容貌和優雅舉止不相配的名字。‚我的名字總是使我覺得自己應該是一個廚子，‛她抱怨道，‚我真的不想要戴比這個名字。‛

一天，在填寫一份出版工作職位的申請表時，這位小姐一時衝動，用她的中名林恩替了她的名字戴比。“這是我一生中幹得最漂亮的一件事，”現在她對人這樣說，“一旦我不再稱自己爲戴比，我就感到好多了;而且其他人也開始更認真地對待我了。”順利地通過那次工作面試兩年後，這位昔日的女服務員現在成了一位成功的雜誌編輯。朋友和同事們都叫她林恩。

Unit 7

For many people, the root of their stress is anger, and the trick is to find out where the anger is coming from. "Does the anger come from a feeling that everything must be perfect?" Eliot asks.

"That's very common in professional women. They feel they have to be all things to all people and do it all perfectly. They think, 'I should, I must, I have to.' Good enough is never good enough.

Perfectionists cannot delegate. They get angry that they have to carry it all, and they blow their tops. Then they feel guilty and they start the whole cycle over again."

對許多人來說，壓力的根源是憤怒，而對付憤怒的訣竅是找出怒從何來。埃利奧特問道：‚這種憤怒是否來自這麼一種感覺：希望一切事物都必須完美無缺?‛ ‚這在職業女性中是很常見的原因。她們覺得要讓人人感到她們無所不能，而且要把樣樣事情都做得完美無缺。

她們認爲，‘我應該這樣，我必須這樣，我不得不這樣。’追求完美永無止境。完美主義者事必躬親。他們生氣是因爲他們不得不把什麼事情都扛在自己肩上，還爲之發脾氣。隨後他們就感到內疚，接着他們就再把整個過程重複一遍。‛

大學英語的段落翻譯2

Unit1

Howard Gardner, a professor of education at Harvard University, reflects on a visit to China and gives his thoughts on different approaches to learning in China and the West.

哈佛大學教育學教授霍華德·加德納回憶其中國之行，闡述他對中西方不同的學習方式的看法。

Learning, Chinese-Style

Howard Gardner

1 For a month in the spring of 1987, my wife Ellen and I lived in the bustling eastern Chinese city of Nanjing with our 18-month-old son Benjamin while studying arts education in Chinese kindergartens and elementary schools. But one of the most telling lessons Ellen and I got in the difference between Chinese and American ideas of education came not in the classroom but in the lobby of the Jinling Hotel where we stayed in Nanjing.

中國式的學習風格

霍華德·加德納

1987年春，我和妻子埃倫帶着我們18個月的兒子本傑明在繁忙的中國東部城市南京住了一個月，同時考察中國幼兒園和小學的藝術教育情況。然而，我和埃倫獲得的有關中美教育觀念差異的最難忘的體驗並非來自課堂，而是來自我們在南京期間寓居的金陵飯店的大堂。

2 The key to our room was attached to a large plastic block with the room number on it. When leaving the hotel, a guest was encouraged to turn in the key, either by handing it to an attendant or by dropping it through a slot into a box. Because the key slot was narrow, the key had to be positioned carefully to fit into it. 我們的房門鑰匙系在一塊標有房間號的大塑料板上。酒店鼓勵客人外出時留下鑰匙，可以交給服務員，也可以從一個槽口塞入鑰匙箱。由於口子狹小，你得留神將鑰匙放準位置才塞得進去。

3 Benjamin loved to carry the key around, shaking it vigorously. He also liked to try to place it into the slot. Because of his tender age and incomplete understanding of the need to position the key just so, he would usually fail. Benjamin was not bothered in the least. He probably got as much pleasure out of the sounds the key made as he did those few times when the key actually found its way into the slot.

本傑明愛拿着鑰匙走來走去，邊走邊用力搖晃着。他還喜歡試着把鑰匙往槽口裏塞。由於他還年幼，不太明白得把鑰匙放準位置才成，因此總塞不進去。本傑明一點也不在意。他從鑰匙聲響中得到的樂趣大概跟他偶爾把鑰匙成功地塞進槽口而獲得的樂趣一樣多。

4 Now both Ellen and I were perfectly happy to allow Benjamin to bang the key near the key slot. His exploratory behavior seemed harmless enough. But I soon observed an interesting phenomenon. Any Chinese staff member nearby would come over to watch Benjamin and, noting his lack of initial success, attempt to assist. He or she would hold onto Benjamin's hand and, gently but firmly, guide it directly toward the slot, reposition it as necessary, and help him to insert it. The "teacher" would then smile somewhat expectantly at Ellen or me, as if awaiting a thank you ─ and on occasion would frown slightly, as if considering us to be neglecting our parental duties.

我和埃倫都滿不在乎，任由本傑明拿着鑰匙在鑰匙的槽口鼓搗。他的探索行爲似乎並無任何害處。但我很快就觀察到一個有趣的現象。飯店裏任何一箇中國工作人員若在近旁，都會走過來看着本傑明，見他初試失敗，便都會試圖幫忙。他們會輕輕握緊本傑明的手，直接將它引向鑰匙的槽口，進行必要的重新定位，並幫他把鑰匙插入槽口。然後那位“老師”會有所期待地對着我和埃倫微笑，似乎等着我們說聲謝謝——偶爾他會微微皺眉，似乎覺得我倆沒有盡到當父母的責任。

5 I soon realized that this incident was directly relevant to our assigned tasks in China: to investigate the ways of early childhood education (especially in the arts), and to throw light on Chinese attitudes toward creativity. And so before long I began to introduce the key-slot anecdote into my discussions with Chinese educators. 我很快意識到，這件小事與我們在中國要做的工作直接相關 ：考察兒童早期教育 (尤其是藝術教育)的方式，揭示中國人對創造性活動的態度。因此，不久我就在與中國教育工作者討論時談起了鑰匙槽口一事。

TWO DIFFERENT WAYS TO LEARN

6 With a few exceptions my Chinese colleagues displayed the same attitude as the staff at the Jinling Hotel. Since adults know how to place the key in the key slot, which is the ultimate purpose of approaching the slot, and since the child is neither old enough nor clever enough to realize the desired action on his own, what possible gain is achieved by having him struggle? He may well get frustrated and angry ─ certainly not a desirable outcome. Why not show him what to do? He will be happy, he will learn how to accomplish the task sooner, and then he can proceed to more complex activities, like opening the door or asking for the key ─ both of which accomplishments can (and should) in due course be modeled for him as well.

兩種不同的學習方式

我的中國同行，除了少數幾個人外，對此事的態度與金陵飯店工作人員一樣。既然大人知道怎麼把鑰匙塞進槽口——這是處理槽口一事的最終目的， 既然孩子還很年幼，還沒有靈巧到可以獨自完成要做的動作，讓他自己瞎折騰會有什麼好處呢?他很有可能會灰心喪氣發脾氣——這當然不是所希望的結果。爲什麼不教他怎麼做呢?他會高興，他還能早些學會做這件事，進而去學做更復雜的事，如開門，或索要鑰匙——這兩件事到時候同樣可以 (也應該)示範給他看。

7 We listened to such explanations sympathetically and explained that, first of all, we did not much care whether Benjamin succeeded in inserting the key into the slot. He was having a good time and was exploring, two activities that did matter to us. But the critical point was that, in the process, we were trying to teach Benjamin that one can solve a problem effectively by oneself. Such self-reliance is a principal value of child rearing in middle-class America. So long as the child is shown exactly how to do something ─ whether it be placing a key in a key slot, drawing a hen or making up for a misdeed ─ he is less likely to figure out himself how to accomplish such a task. And, more generally, he is less likely to view life ─ as Americans do ─ as a series of situations in which one has to learn to think for oneself, to solve problems on one's own and even to discover new problems for which creative solutions are wanted.

我倆頗爲同情地聽着這一番道理，解釋道，首先，我們並不在意本傑明能不能把鑰匙塞進鑰匙的槽口。他玩得開心，而且在探索，這兩點纔是我們真正看重的。但關鍵在於，在這個過程中，我們試圖讓本傑明懂得，一個人是能夠很好地自行解決問題的。這種自力更生的精神是美國中產階級最重要的一條育兒觀。如果我們向孩子演示該如何做某件事——把鑰匙塞進鑰匙的槽口也好，畫只雞或是彌補某種錯誤行爲也好——那他就不太可能自行想方設法去完成這件事。從更廣泛的意義上說，他就不太可能——如美國人那樣——將人生視爲一系列的情境，在這些情境中，一個人必須學會獨立思考，學會獨立解決問題，進而學會發現需要創造性地加以解決的新問題。

TEACHING BY HOLDING HIS HAND

8 In retrospect, it became clear to me that this incident was indeed key ─ and key in more than one sense. It pointed to important differences in the educational and artistic practices in our two countries.

把着手教

回想起來，當時我就清楚地意識到，這件事正是體現了問題的關鍵之所在——而且不僅僅是一種意義上的關鍵之所在。這件事表明了我們兩國在教育和藝術實踐上的重要差異。

9 When our well-intentioned Chinese observers came to Benjamin's rescue, they did not simply push his hand down clumsily or uncertainly, as I might have done. Instead, they guided him with extreme facility and gentleness in precisely the desired direction. I came to realize that these Chinese were not just molding and shaping Benjamin's performance in any old manner: In the best Chinese tradition, they were ba zhe shou jiao ─ "teaching by holding his hand" ─ so much so that he would happily come back for more.

那些善意的中國旁觀者前來幫助本傑明時，他們不是簡單地像我可能會做的那樣笨拙地或是猶猶豫豫地把他的手往下推。相反，他們極其熟練地、溫和地把他引向所要到達的確切方向。我逐漸認識到，這些中國人不是簡單地以一種陳舊的方式塑造、引導本傑明的行爲：他們是在恪守中國傳統，把着手教，教得本傑明自己會愉快地要求再來一次。

10 The idea that learning should take place by continual careful shaping and molding applies equally to the arts. Watching children at work in a classroom setting, we were astonished by their facility. Children as young as 5 or 6 were painting flowers, fish and animals with the skill and confidence of an adult; calligraphers 9 and 10 years old were producing works that could have been displayed in a museum. In a visit to the homes of two of the young artists, we learned from their parents that they worked on perfecting their craft for several hours a day.

學習應通過不間斷的精心塑造與引導而得以實現，這一觀念同樣適用於藝術。我們觀看了孩子們在教室裏學習藝術的情景，他們的嫺熟技藝令我們驚訝。年僅5、6歲的孩子就帶着成人的那種技巧與自信在畫花、畫魚和動物;9歲、10歲的小書法家寫出的作品滿可以在博物館展示。有一次去兩位小藝術家的家裏參觀，我們從孩子的父母處得知，他們每天練習數小時以完善他們的技藝。

CREATIVITY FIRST?

11 In terms of attitudes to creativity there seems to be a reversal of priorities: young Westerners making their boldest departures first and then gradually mastering the tradition; and young Chinese being almost inseparable from the tradition, but, over time, possibly evolving to a point equally original.

創造力第一?

從對創造力的態度來說，優先次序似乎是顛倒了：西方的年輕人先是大膽創新，然後逐漸深諳傳統;而中國的年輕人則幾乎離不開傳統，但是，隨着時間的推移，他們同樣可能發展到具有創新的境界。

12 One way of summarizing the American position is to state that we value originality and independence more than the Chinese do. The contrast between our two cultures can also be seen in terms of the fears we both harbor. Chinese teachers are fearful that if skills are not acquired early, they may never be acquired; there is, on the other hand, no comparable hurry to promote creativity. American educators fear that unless creativity has been acquired early, it may never emerge; on the other hand, skills can be picked up later.

美國人的立場可以概括起來這麼說，我們比中國人更重視創新和自立。我們兩種文化的差異也可以從我們各自所懷的憂慮中顯示出來。中國老師擔心，如果年輕人不及早掌握技藝，就有可能一輩子掌握不了;另一方面，他們並不同樣地急於促進創造力的發展。美國教育工作者則擔心，除非從一開始就發展創造力，不然創造力就有可能永不再現;而另一方面，技藝可於日後獲得。

13 However, I do not want to overstate my case. There is enormous creativity to be found in Chinese scientific, technological and artistic innovations past and present. And there is a danger of exaggerating creative breakthroughs in the West. When any innovation is examined closely, its reliance on previous achievements is all too apparent (the "standing on the shoulders of giants" phenomenon).

但我並不想誇大其辭。無論在過去還是在當今，中國在科學、技術和藝術革新方面都展示了巨大的創造力。而西方的創新突破則有被誇大的危險。如果仔細審視任何一項創新，其對以往成就的依賴則都顯而易見(“站在巨人肩膀之上”的現象)。

14 But assuming that the contrast I have developed is valid, and that the fostering of skills and creativity are both worthwhile goals, the important question becomes this: Can we gather, from the Chinese and American extremes, a superior way to approach education, perhaps striking a better balance between the poles of creativity and basic skills?

然而，假定我這裏所說的反差是成立的，而培養技藝與創造力兩者都是值得追求的目標，那麼重要的問題就在於：我們能否從中美兩個極端中尋求一種更好的教育方式，它或許能在創造力與基本技能這兩極之間獲得某種較好的平衡?

Finding a way of teaching children to appreciate the value of money can be a problem. Yet the solution, David Owen suggests, is simple -- just open a bank. Easier said than done? Well, it turns out to be not quite so difficult as it sounds, as you'll discover in reading about the First National Bank of Dave.

設法教育孩子珍惜錢財會是件難事。然而，大衛·歐文說，方法也很簡單——開個銀行就行。說來容易做起來難?其實，這事並沒聽上去那麼難，你讀一讀戴夫第一國家銀行的故事就知道了。